Daily Republican. [volume] ([Wilmington, Del.]) 1874-1890, 1887-03-21
EXPRESSION IN DAxosxa.

4 BAFRE9S1ON IN OA&OA88s
In . primitive state of civilization
when the only faculties developed ar,
sense and emotion. II 10 easy TO sc,
how dancing would become usua
means of Communicating and express
ing the joys and sorrows Of q savage
tribe. The almost habitual state o.
warfare would naturally suggest on
excited dance as the best means fol
stirring up the young braves to cour-
| age and actions custom, indeed, or
listing still, In modified form, In thu
loud chorused patriotic songs of Eng
land.
From the frantic war dance Of the
North American Indian, with its weird
association, to the modern ballet,
there seems to be natural sequence,
end yet it will be found that one and
the SEINE essential is, or should be,
characteristic of both.
In both the central idea ia suitable
expression Of emotion, and hence
dancing became in process OF develop
ment distinct adjunct of the worship
of the gods.
The original Greek chorus signified
To- company of singers dancing in a
ring abont the altar of Dyonisius.
Plato, too. declared that all dancing
should be an. act of religion, whilst
among the Romans 1t was considered
an indecency to dance In private.
All this goes to prove that definite
intention was always understood, and
that dancing was not regarded as mere
posturing or posing, but that it had an
intelligible language of its own.
. Adam Smith tells us that dancing Is
much more expressive than music;
and that the minuet, where the
woman, after passing and requesting
the man, gave him first one hand and
then the other, was, originally, q
Moorish dance, representing the pas
sion of love.
The Pyrric dance OF Sparta repre-
scented real warfare, and the dance OF
the Eumenides is said to have been SO
fearful as to terrify all the special ors.
The Roman funeral dances would
naturally arise from the religious sen.
timents associated. though II is hard
now to realize the appropriateness OF
having o buffuon in attendance to
dance an imitation OF the character OF
the deceased.
In the reign of Augustus two re-
markable men brought about COM
|plete revolution in dancing. Their
names were Pylades and Bathyllus,
and to them must be ascribed the in
vention of the pantomimc ballet.
From the accounts of the time their
performances. seem to have been won
derful, the spectators being able with
out difficulty TO follow the most elabo.
rate plot, and even to understand the
most minute illusions. A writer of
the day says: ''Their very nod speaks,
their hands talk and their fingers have
% voice.
A memorable trial OF strength took
place between Pyladcs and a rival by
name Of Hylas. The latter, dancing a
hymn which closed with the words,
"The great Agamemnon," to express
that idea stood erect, as if measuring
his size, Pylades exclaimed, "Ah, you
make HIM tall, not great" The audi
ence begged Pylades to dance the
same hymn, and when he came to the
words he collected himself in posture
OF deep meditation. The silent panto-
mimic language, We are told, was per-
feet.
So highly we're these pantomimes
esteemed that many of them were
children OF the Graces and the Virtues,
and such an influence had they over
the Roman people that when quarrel
occurred between Pylades and Bathyl-
lus the emperor himself interfered to
bring about renewal of friendship.
For considerable period, owing
probably to Gothic and Vandal inya.
slons, pantomime ballet became almost
extinct in Italy, but In the fifteenth
century 1t revived and has maintained
vitality ever since.
Female dancers were first introduced
in the ballet at an entertainment given
at the court OF Louis XIV, in 1851, and
at length the art was brought to its
greatest perfection by the celebrated
Nouverre, who was connected with
several of the royal courts of Europe
as maitre de ballet during the latter
part of the last century. According
to him the qualifications of ballet
master are terribly exacting. A right
knowledge of mythology is absolutely
necessary, ancient poetry, chronology
and painting are also requisite, not to
mention she tritling addition of geom-
etry, anatomy and music,a pretty good
dose for the modern terpsichorean di-
gestion.
But Nouverre had the right principle
at heart, and we cannot do better in
closing this brief inquiry than by quot
ing his words respecting the true aim
OF what WAS to him, the highest art.
He says, 1.-THE ballet should be COM
pletc pantomime, and, through the
eyes, speak, as it were,to the very soul
nf the cpacfafor